Ramen Love
Alberta Foundation for the Arts Travelling Exhibition Program
Nifty Noodles, Sarah Gonzales, 2014 (detail)
2
Ramen Love
Curated by Xanthe Isbister, Esplanade Arts and Heritage Centre
Interpretive Catalogue and Educators Guide:
AFA Travelling Exhibition Program (TREX)
3
Create: Broth, Sarah Gonzales, 2014 (detail)
4
Table of Contents
6
About the Esplanade
7
About the AFA Travelling Exhibition Program
9
Curatorial Statement
11 Biography
13
Artist Statement
15
Process Statement
16 List of Works
21
Introduction to Educator’s Guide and Lesson Plans
22
Viewing Exhibition Activity Guide
24
Project 1: Ramen Anatomy Print
28
Project 2: Blue & White Transfer Bowls
34
Project 3: Create a Series
38Bibliography
39Acknowledgements
5
About the Esplanade
The Esplanade Arts and Heritage Centre is where the stories of our great collective culture
are told in music and dance, painting and sculpture, plays and concerts, exhibitions and
installations, artifacts and art, education programs and private events. Featuring a 700-seat
main stage balcony theatre which boasts superior technology and striking design,
the Esplanade is where Medicine Hat celebrates arts and heritage.
A marvel of contemporary Canadian architecture on traditional Blackfoot territory just
steps from the South Saskatchewan River, the Esplanade occupies an eminent position on
downtown’s historic First Street Southeast. From its rooftop terrace, you can see Saamis,
the dramatic shoreline escarpment which is the setting for the story of how Medicine Hat
got its name.
Inside, visitors discover the vibrant Esplanade Art Gallery, the prized Esplanade Museum,
the Esplanade Studio Theatre across the lobby from the Esplanade Main Stage Theatre,
the expansive Esplanade Archives and Reading Room, an art education space called the
Discovery Centre, the catering-friendly Cutbanks Room, the McMan Bravo! Coffee House and
lots of volunteers and staff who are eager to guide you to the right place—and tell you their
versions of our city’s namesake tale on the way.
In the northeast corner of the Esplanade grounds stands the oldest remaining brick home in
Alberta, the Ewart-Duggan House. With its gingerbread trim and quaint heritage gardens, it
now serves as a charming venue for select cultural events and a home away from home
for artists in residence.
The Esplanade opened in celebration of Alberta’s centennial in 2005 and ever since, Medicine
Hat has welcomed a steady procession of artists and audiences, storytellers and story-lovers
from around the region and around the globe. The celebration continues today.
6
About the AFA Travelling
Exhibition Program
The Alberta Foundation for the Arts (AFA) has supported a provincial
travelling exhibition program since 1981. The mandate of the AFA’s
Travelling Exhibition Program (TREX) is to provide all Albertans the
opportunity to enjoy visual art exhibitions in their community.
Three regional galleries and one arts organization coordinate the program
for the AFA:
Northwest Region: The Art Gallery of Grande Prairie, Grande Prairie
Northeast and North Central Region: The Art Gallery of Alberta, Edmonton
Southwest Region: The Alberta Society of Artists, Calgary
Southeast Region: The Esplanade Arts and Heritage Centre, Medicine Hat
Each year, more than 300,000 Albertans enjoy many exhibitions in
communities ranging from High Level in the north to Milk River in the south
and virtually everywhere in between. The Alberta Foundation for the Arts
TREX Program also offers educational support material to help educators
integrate the visual arts in the school curriculum.
Exhibitions for the TREX program are curated from a variety of sources
including private and public collections. A major part of the program
consists of making the AFA’s extensive art collection available to Albertans.
This growing collection is comprised of more than 8,000 artworks which
showcase the talents of more than 2,000 artists. As the only provincial art
collection in Alberta, it chronicles the development of the province’s
vibrant visual arts community and serves as an important cultural legacy
for all Albertans.
7
Beautiful Broth, Sarah Gonzales, 2014
8
Curatorial Statement
In the present, where connections to history have been severed, ramen is a tool to rearticulate the charm of Japan’s
traditions.
-Hayamizu Kenro
Ramen Love celebrates the global food sensation ramen noodles. Sparked by her love of ramen, artist Sarah
Gonzales explores the roots of this noodle and its mid-twentieth-century journey from Asia to North America.
Ramen was introduced to Japan in the 1880s by Chinese migrants working as cooks catering to foreigners.
They served noodle soup to fellow workers and students.1 It was in the early twentieth century when Japanese
restaurateurs employing Chinese chefs transformed the dish into a hearty lunch food, with labourers, students
and soldiers regularly consuming the dish. Today, America’s embrace of ramen and Japanese culture is exhibited
through the cultlike craze surrounding the sixteen-dollar bowls of ramen served by celebrity chef David Chang.2
Gonzales’s quirky sensibility balanced with her skillful drawing ability creates a body of colourful works on the
history of noodle making, the introduction of “cup-a-soup” to North America in the 1950s, and most importantly,
the various types of noodles and broth. Gonzales explains, “As a cultural phenomenon, ramen has sparked tens of
thousands of restaurants worldwide, influential films, documentaries, blogs, and [has] provided affordable comfort
food to millions of destitute college students across the globe.” As she is a recent graduate of one of the best
design schools in western Canada, her creative process balances traditional fine art and contemporary design
approaches. She begins her creative process with small-scale drawings in her sketchbook, and then scans these
drawings into her computer, digitally paints each one and finally professionally prints out a finalized piece. This
approach references forms of traditional printmaking but is worlds away, evidenced by the fact that she uses a pen
tablet to paint her scanned, digitally inputted drawings.
The characters featured in Gonzales’s imagery display a warm and friendly nature, which seems to be the result of
the artist’s subconsciously infusing her own characteristics into each personality. Coincidently, the playful imagery
captured within each of these works delivers warmth to the viewer, similar to the warmth and comfort a hot cup of
ramen provides.
Xanthe Isbister, Esplanade Arts and Heritage Centre
1 Solt, George. The Untold History of Ramen: How Political Crisis in Japan Spawned a Global Food Craze. Berkeley and Los Angeles: University of California Press, 2014.
2 Brickman, Sophie, “The History of the Ramen Noodle,” New Yorker, May 12, 2014. http://www.newyorker.com/culture/culture-desk/the-history-of-the-ramen-noodle
9
Self Portrait, Sarah Gonzales, 2014
10
Artist Biography
Sarah Gonzales is a graduate from the Alberta College of Art + Design with a bachelor of
design, majoring in illustration. At the moment her studio practice is focused on unravelling
the design aspect of illustration and on identifying and understanding visual elements and
mechanisms that control the creation of meaning. Drawing from personal experiences, she
explores themes of identity, humanity and beauty, experimenting with varying mediums and
processes. She also draws inspiration from world history, fine art, music and fashion. Away
from her desk, she enjoys watching food documentaries and slurping a good hot bowl of
ramen noodles.
11
Everybody Loves Ramen, Ramen Evolution Series, Sarah Gonzales, 2014 (detail)
12
Artist Statement
So much of the experience of food — especially ramen — is in its presentation, and this
exhibition aims to explore the history and cultural context of this Asian noodle dish.
Cup ramen, ramen restaurants, home-cooked ramen, and the heartwarming experience of
sharing this delicious meal with loved ones have all fed into my love for this unique food.
As a cultural phenomenon, ramen has sparked tens of thousands of restaurants worldwide,
influential films (Tampopo) and documentaries and quirky ramen blogs and has provided
affordable comfort to millions of destitute college students across the globe.
Here is ramen: where it came from, where it’s going and everything in between.
* Special thanks to the wonderful people who helped throughout the process:
my family, Pacific Coast Print & Copy, Xanthe Isbister, Luke Maddaford, Charles Bell, Naoko
Masuda, Michael Mateyko, Jordan Baylon, Amy Pon and Maria Castro.
13
Process drawing from the Ramen Evolution Series, Sarah Gonzales, 2015
14
Process Statement
Idea
I wanted to create a body of work to be exhibited in a gallery but wasn’t sure what I wanted
to create. The opportunity came up when the Marion Nicoll Gallery, a student-run gallery at
school, put out a call for entries. The idea struck me one night before I went to bed. It was
simple: ramen. I’d been going to different noodle restaurants in town with friends for dinner,
after school, special occasions, and to simply satisfy the craving. And no matter how many
times I went, ramen always warmed my heart and soul. I wanted to share that feeling of
warmth and love with others through informative and narrative-based illustration. I started
writing and sketching out ideas while doing an extensive amount of online research. This
gave me another great reason to go out for ramen. I also created folders for inspiration and
dug around for reference images. This led to creating different aspects of the exhibition: a
visual timeline , a narrative treatment of how a ramen dish is created and the anatomy of
ramen and its various ingredients.
Overall, I tried to touch on the experience of warmth and happiness a bowl of ramen
can bring to people. I also wanted to depict the rich history and cultural context of this
amazing noodle dish. I tried to convey these themes visually through colour, the characters’
expressions and a whimsical aesthetic.
Process
After the ideation phase, I begin to explore different compositional thumbnails and develop
them into more detailed drawings. I scan the thumbnails and use them as a base layer for
my drawings, which I do with blue pencil. I work with blue pencil because it stays on the
paper and doesn’t erase well. It allows me to keep the drawings rougher and build up my
lines more confidently. I sketch out the base drawing lightly and press hard as I refine lines
and details. I want to maintain qualities of the sketchy underdrawings while I process them
digitally. This ties into the idea of ramen being handmade but also being part of technological
developments with machinery and instant noodles. The underdrawings and the screen tones
from the printed scan add to the handmade texture and feel. I then scan the drawings and
digitally add colour and refine shapes. I do this in Photoshop, where I also refine the details
and add finishing touches.
15
List of Works
Left to Right
1. Create: Noodles, Ramen Creation Series
Blue pencil drawing, coloured and
finished digitally
14 x 14 in.
2014, Collection of the artist
2. Create: Broth, Ramen Creation Series
Blue pencil drawing, coloured and
finished digitally
14 x 14 in.
2014, Collection of the artist
Left to Right
3. Create: Toppings, Ramen Creation Series
Blue pencil drawing, coloured and
finished digitally
14 x 14 in.
2014, Collection of the artist
4. 16
Create: The Ramen, Ramen Creation
Series
Blue pencil drawing, coloured and
finished digitally
14 x 14 in.
2014, Collection of the artist
Left to Right
5. Nifty Noodles, Ramen Anatomy Series
Blue pencil drawing, coloured and
finished digitally
14 x 14 in.
2014, Collection of the artist
6. Beautiful Broth, Ramen Anatomy Series
Blue pencil drawing, coloured and
finished digitally
14 x 14 in.
2014, Collection of the artist
Left to Right
7. Fancy Flavours, Ramen Anatomy Series
Blue pencil drawing, coloured and
finished digitally
14 x 14 in.
2014, Collection of the artist
8. Tasty Toppings, Ramen Anatomy Series
Blue pencil drawing, coloured and
finished digitally
14 x 14 in.
2014, Collection of the artist
17
9. The Roots of Ramen, Ramen Evolution
Series
Blue pencil drawing, coloured and
finished digitally
13.5 x 34 in.
2014, Collection of the artist
10. Just Add Water, Ramen Evolution Series
Blue pencil drawing, coloured and
finished digitally
13.5 x 34 in.
2014, Collection of the artist
11. Everybody Loves Ramen, Ramen
Evolution Series
Blue pencil drawing, coloured and
finished digitally
13.5 x 34 in.
2014, Collection of the artist
12. Maneki-Neko
Blue pencil drawing, coloured and
finished digitally
12 x 16 in.
2014, Collection of the artist
18
The Roots of Ramen, Ramen Evolution Series, Sarah Gonzales, 2014 (detail)
19
Tasty Toppings, Sarah Gonzales, 2014
20
Introduction to
Educator’s Guide and
Lesson Plans
The AFA Travelling Exhibition Program Southeast created this educators’ guide based on the
exhibition’s themes and concepts. It is composed of lesson plans and informative material.
We strive to create projects that will inspire individuals to experience our exhibitions
beyond the decorative and to explore their own creativity. Educators, writers, curators and
artists have all contributed content; we hope you create something amazing from it.
21
Viewing Exhibition
Activity Guide
The following activities are intended to guide students (kindergarten to grade 12) through the process of
effectively looking at and analyzing works of art.
Grade Title
Description
K–2
I Spy
Select a work of art that all the students can see, but don’t reveal which one.
Say, “I spy with my little eye,” and then state something you see in that work,
such as “something big,” “something square” or “something yellow.” Students
take turns trying to guess what the object is. Let the player who correctly
guesses the object pick the next one, or have all the players take turns in a set
order.
K–2
Statue Poses
Choose a work of art for students to explore. Ask students to pose like the
figure(s) in the work of art. Ask, “How does this posture make you feel? How
do you think the figure in the work of art feels?” (The figure(s) can be people,
animals and/or objects.)
K–2
Sensing the Scene
Choose a work of art for students to explore. Ask them to imagine climbing
inside this work of art. Ask them, “What do you see? Hear? Taste? Feel?
Smell?”
3–5
Story Circle
Sit in a circle near a chosen work of art. Begin a story by making a statement
about the work (e.g., “It was a very windy day”). The next person continues
the story, by describing the work of art, for one to three more sentences. The
person next to him or her continues the story, and so on, until everyone has
contributed.
22
Grade
TitleDescription
3–5
Drawing Comparisons
Have students compare and contrast the works in the exhibition. Ask them
to look for similar shapes (both geometric and organic). If they find similar
shapes in two works of art, have them draw that shape on a piece of paper.
As a group, have students share their discoveries.
6–8
Art-inspired Haiku
A haiku is a Japanese form of poetry composed of unrhymed lines of five,
seven, and five syllables, in that order. Example:
Alberta sunrise
Shines bright above the coulees
The day has begun
Have students work with partners to write haikus inspired by a work of
art in the exhibition. See if others in the group can find the works of art
described in the poems.
6–8
Auction Debate
Let students choose a work of art to debate, and then divide them into
three groups. One group takes the stance of the “advocate” and prepares
an argument for the high value of the artwork. Another group acts as the
“dissenter” and prepares an argument indicating that the work of art has
no value. The third group is the jury. Have the two groups present their
arguments, and allow the jury to decide which argument triumphs.
9 – 12
Research Questions
Have students choose a work of art in the exhibition that piques their
curiosity. Ask, “If you could ask the artist a question about any part of this
work of art, what would it be?” As a follow-up, students can look for the
answer by researching their question online or at the library.
23
Project:
Ramen Anatomy Print
Age Group: Grades K – 2 (adapted version suitable for Grades 3 – 6)
Introduction
In her Ramen Anatomy series, Sarah Gonzales dissects the dish by beautifully illustrating its individual components: Nifty
Noodles, Beautiful Broth, Fresh Flavours and Tasty Toppings. What emerges are ingredients both familiar (chicken, onion,
egg) and perhaps less familiar (fish cakes, menma (fermented bamboo shoots), seaweed).
Inspired by ramen ingredients and the graphic nature of Sarah’s illustrations, students will explore relief printmaking
techniques by creating Ramen Anatomy prints.
Objectives
Students will:
•Learn about the variety of ingredients used to make ramen
•Explore relief printmaking techniques by using ingredients’ surfaces creatively
•Explore textures, shapes, colours and overlapping
Materials
•Printable ingredients (cut in half or left whole to create interesting
surfaces): mushrooms, onions, scallions, leeks, corn on the cob, nori, bean
sprouts, spinach, dry ramen noodles (students will have to press gently so
they don’t fall apart)
•Acrylic or tempera paint (assorted colours)
•Paper plates
•Paintbrushes
•White watercolour paper or card stock (1 per student)
Preparation
1. Prepare ingredients prior to the activity by cutting some in half (i.e.,
mushrooms, onions, leeks).
2. Create one or multiple printing stations where students can easily reach
the ingredients and paint. Each colour should be placed separately on a paper
plate. Spread out the paint so that students can easily stamp ingredients. Leave
a few brushes on the table so that students can also try applying the paint
using brushwork (ideal for smaller ingredients).
24
Instructions
Begin by describing ramen and identifying all of the ingredients that the students will be working with. Demonstrate how to
stamp and how to apply paint to the ingredients using a brush. Encourage students to experiment with different colours and
overlapping shapes.
Have the students do the following:
Step One
Select their first ingredient and either stamp it or use a brush to apply paint to the surface.
Step Two
Press their ingredient into their sheet of paper once the surface is properly coated.
Step Three
Repeat steps one and two multiple times using a variety of different ingredients until they are satisfied with their print. Remind them to leave white space within their composition. Variations
1. Use coloured paper — Rather than using white paper, have students explore
colour relationships by applying their relief prints to coloured paper.
2. Create a series — Instead of having students overlap different ingredients on
a large sheet of paper, ask them to create a series of individual ingredients on
smaller sheets of paper (all cut to the same size).
3. For older students (Grades 3 – 6). Create linocut stamps — Instead of having
students use the ingredients to create the relief print, ask them to create their
own stamp by carving an illustration of a ramen ingredient into a sheet of
linoleum. Have them create their prints using just their stamp or a combination
of their stamp and those created by their classmates.
Follow-up Discussion
1. Were the students surprised by the different shapes and textures the
ingredients made?
2. If they were to do this activity again using a different meal as their
inspiration, what would they choose? What ingredients would they need? 25
Curriculum Links
Kindergarten
Creative Expression
General Learner Expectations
The child:
•Explores self-expression through creative thought
•Explores self-expression through language, art, movement, music and drama
Specific Learner Expectations
The child:
•Responds to and interprets visual images by viewing natural forms, everyday objects, and
artworks
•Experiments with a variety of art materials to create two- and three-dimensional forms
•Experiments with line, colour, shape, texture and pattern in diverse media to explore and
express ideas
•Explores familiar materials in new ways
General Learner Expectation
The child:
•Becomes aware of various forms of expression
Specific Learner Expectation
The child:
•Responds to and appreciates the art, music, movement and drama of his or her own culture
and other cultures by viewing, discussing and creating
26
Level One (Grades 1 & 2)
DEPICTION
Component 4: MAIN FORMS AND PROPORTIONS — Students will learn the shapes of complex objects,
as well as develop decorative styles.
•Shapes can be made using different procedures; e.g., cutting, drawing, tearing, stitching
Component 3: Students will decorate items they created.
•Details, patterns and textures can be added to two-dimensional works
Component 10 (iii): MEDIA AND TECHNIQUES — Students will use media and techniques, with an
emphasis on exploration and direct methods in drawing, painting, printmaking, sculpture, fabric arts,
photography and technographic arts.
Printmaking:
•Explore the use of printmaking materials and the application of paint using brushes and rollers
(brayers)
•Explore found-object printing and the making of patterns through stamping
27
Project:
Blue & White Transfer Bowls
Age Group: Grades 5 – 8 (adapted version suitable for Grades 9 – 12)
Introduction
Similar to ramen’s history, the history of blue-and-white porcelain is rich in regional adaptations. Also referred to as Qinghua,
the decorative style was first developed in China during the Tang Dynasty (618 AD – 906 AD) but peaked in popularity
between the Ming and Qing dynasties (1368 – 1912 AD). Over time its influence spread, and a similar aesthetic was applied to
porcelain works throughout Asia (Japan, Korea) and in Western countries.
Traditionally, in China, blue-and-white porcelain was created by applying a cobalt glaze with brushes onto a variety of clay
objects — most commonly vases, bowls, plates, bottles and jars. Cobalt was preferred because it was abundant and often
yielded a bright, sharp image. The brush-painting technique was valued because it was flexible and could create a variety of
patterns and designs, and because it visually referenced the elegant style of traditional Chinese ink painting. Typical subject
matter included plants, animals, landscapes, historical events and people.
Things changed in the eighteenth century, when a new technique for applying cobalt glaze to porcelain was developed in
England. John Sadler and Guy Green of Liverpool discovered a way to transfer images using a copper plate. The method was
very similar to creating an etching, and allowed porcelain manufacturers to produce large quantities of the same pattern
more efficiently.
Inspired by the history of blue-and-white porcelain and the vessel that serves up ramen noodles to people around the world,
students will create their own bowls with a blue-and-white design using a drawing-transfer technique.
Materials
•Beige polymer oven-bake clay (2 ounces/student)
•Blank white paper
•Pencil
•Blue permanent markers
•Scissors
•Rolling pins
•Plastic spoons (1/student)
•Plastic knives (1/student)
•Small oven-proof bowls (1/student)
•Blue-and-white porcelain reference images
28
Objectives
Students will:
•Learn about the history of blue-and-white porcelain
•Discover a method for transferring drawings
•Create a design that is personal and unique
• Create a three-dimensional object using clay modeling techniques
Preparation
Create a slide show or print examples of blue-and-white porcelain for students to refer to in the classroom.
Instructions
Begin by demonstrating the project and showing students examples of blue-and-white porcelain.
Have the students do the following:
Step One
Plan a design for the bowl using pencil and paper. Use the
reference images as inspiration or develop an individual design based on a theme (special event, meal,
favourite restaurant, etc.). The drawings should follow
a circular format and be between three to four inches in
diameter (it might be useful to create a template for younger
students).
Step Two
Trace over the pencil in blue permanent marker. Cut out the
circular design using scissors. Set aside until Step Five.
Step Three
Spend a few minutes “conditioning” the clay by squeezing
and softening it in their hands.
Step FourUsing a rolling pin, roll out the clay into a flat slab
approximately ¼ inch thick. The slab should be slightly
larger than the drawing. Step Five
Place the drawing face down on the clay. Cut away any
extra clay from the circumference using a plastic knife.
Step Six
Use the bottom of a plastic spoon to rub the paper into the
clay. Lift the paper away to reveal the transferred image!
Step Seven
Drape the clay into a small oven-proof bowl (pressing
down slightly to mould it into a bowl shape) with the image
transfer facing up. The bowl will be placed in the oven like
this and will be “fired” until the clay is set. Bake according
to manufacturer’s instructions.
Step Eight
Once the clay is out of the oven and has cooled to room
temperature, lift the creation away from the oven-proof
bowl.
29
Variations
1. Create plates instead of bowls — If finding a class set of oven-proof bowls is difficult, have
students create plates instead. For Step Seven, instead of draping the circle slab inside a bowl,
lay each one flat on a baking sheet. Proceed with the manufacturer’s instructions for baking the
clay.
2. Use a pasta machine — Have students use a pasta machine instead of rolling pins to prepare
the oven-bake clay. Connect this technique to the machine used in Sarah Gonzales’s illustration
Create: Noodles in her Ramen Creation series.
3. For older students (Grades 9 – 12). Challenge students’ design skills and have them create a highly
detailed, intricate border along the edge of their bowl and a figurative scene in the center. There
should be an even ratio of positive and negative space (blue and white). If students would prefer
to design an image using computer software, make sure they print it using toner ink. Recently
printed toner will also transfer onto oven-bake clay.
Follow-up Discussion
1. Ask students to consider all of the tools they used to create their bowl (i.e., spoon, knife, rolling
pin, oven, etc.). Do they see a connection between these tools and the object they created?
2. Invite students to share their work. Have them talk about the significance of their drawing and
what type of food their bowl would best serve.
3. Did the transfer work as they thought it would? Were they surprised when it revealed a mirror
image? What might they do differently next time?
4. Do they think the blue-and-white colour scheme affects the overall mood that their design
illustrates? Would the mood be different if they had used a colour other than blue?
30
Process image of Maneki-Neko, Sarah Gonzales, 2015
31
Curriculum Links
Level Three (Grades 5 & 6)
REFLECTION
Component 6: QUALITIES AND DETAILS — Students will employ surface qualities for specific effects.
•Colour harmonies affect the viewer’s mood and feeling
•Drawing or painting tools and methods influence the character of marks
COMPOSITION
Component 8: UNITY — Students will create unity by integrating the parts of a composition into the
whole.
•Pervasive colour, texture or tone can unify a composition, through an overall wash of paint, a glaze,
a textural additive, a surface treatment, or the like
Component 9: CRAFTSMANSHIP — Students will perfect images through economical use of material
and efficiency of effort.
•Minimal actions and limited media result in stronger forms, as in Chinese painting, cartoons or Inuit
sculptures
EXPRESSION
Component 10 (i): PURPOSE 1 — Students will record or document activities, people and discoveries.
•Everyday activities can be documented visually
•Special events, such as field trips, visits and festive occasions, can be recorded visually
PURPOSE 5 — Students will create an original composition, object or space based on supplied
motivation.
•Outside stimulation from sources such as music, literature, photographs, film, creative movement,
drama, television and computers can be interpreted visually
Component 10 (iii): MEDIA & TECHNIQUES — Students will use media and techniques, with an
emphasis on more indirect, complex procedures and effects in drawing, painting, printmaking,
sculpture, fabric arts, photography and technographic arts.
Drawing
•Continue to explore ways of using drawing materials
Sculpture
•Continue clay modelling, going beyond previous levels to include more advanced slab techniques;
e.g., cutting, welding to make cylindrical shapes, draping over objects; using armatures, coil pots;
apply coloured slip; apply stains
32
Grade 7
DRAWINGS
Articulate and evaluate — Students will apply visual, analytical and critical skills and develop control
and competency.
•Discussing one’s own drawings and images is part of learning to talk about art
COMPOSITIONS
Components — Students will develop competence with the components of images: media, techniques
and design elements.
•Experiment with colour’s effects on compositions
•Colour schemes create certain moods in images
•Experiment with techniques and media within complete two- and three-dimensional compositions
ENCOUNTERS
Sources of images — Students will investigate natural forms, human-made forms, cultural traditions
and social activities as sources of imagery through time and across cultures.
Impact of images — Students will understand that art reflects and affects cultural character.
Grade 8
(Everything indicated above, plus the following.)
DRAWINGS
Students will:
•Investigate form and structure of natural and human-made objects as sources of images
COMPOSITIONS
Students will:
•Use art criticism vocabulary to develop a positive analysis of their work
•Understand how various colour schemes (e.g., intense, aggressive schemes or harmonious ones) can
affect the mood of a composition
•Create a composition to convey personal identity, as in popular or folk-art images
33
Project: Create a Series
Age Group: Grades 9 – 12
Introduction
Professional artists often create art in a series. What unites each work is often the subject matter and the aesthetic (how it
looks visually). For figurative artists, this unity often includes a common theme or narrative. For all artists, it is often a unified
or cohesive composition and craftsmanship.
In some cases, work from a series can be exhibited separately and still make sense to the audience. In other cases, however,
the series needs to be presented as a whole to make sense. The latter is the case for Sarah Gonzales’s Ramen Creation
series. The individual components — Create: Noodles, Create: Broth, Create: Toppings, Create: the Ramen — are intended to
be viewed together. The series represents a process, and each illustration represents a step in that process.
Key to the success of any series is an overall feeling of unity in theme and composition. Gonzales achieves unity in her Ramen
Creation series in three ways. First, she adheres to a compositional format. Notice how each of the four illustrations features
a prominent circular shape in the middle of the page? Second, she unifies through colour. The artist is working with a limited
palette, primarily of red, yellow and green-blue. The range of shades and tones that she creates with these three colours is
consistent through the series. Third, she creates unity through the titles of each work (i.e., Create:).
In this lesson, students will create their own series of four illustrations that depict a process of their choosing. It could be
cooking a favourite recipe, planting a tree, getting ready for school in the morning or capturing a perfect ‘selfie’. The options
are limitless but should reflect each student’s personal interests.
Objectives
Students will:
•Produce a series of watercolours that illustrate a process using Sarah Gonzales’s Ramen Creation series as inspiration
•Explore the dynamic, cohesive and unifying effects of a complementary colour scheme
•Develop their own illustrative aesthetic
Materials
•Watercolour paper (12 x 12 inches, 4 sheets/student)
•Watercolours
•Watercolour pencil crayons
•Pencils
•Sketching paper
•Watercolour brushes (variety of sizes)
•Container of water
34
Preparation
1. Begin by looking at Sarah Gonzales’s Ramen Creation series. Address the following questions with the students: Why might
an artist create a series? How does the artist achieve unity throughout her series (i.e., composition, colour, titles)? Why is
unity important?
2. Discuss complementary colour schemes: blue/orange, green/red, yellow/purple. Show students the range of colours and
tones that can be achieved using a limited palette. For example, mix white into colours to create tone, or experiment with
different levels of saturation by adding water and mixing two complementary colours to create neutrals.
Instructions
Have the students do the following:
Step One
Brainstorm ideas and create preliminary thumbnail sketches using pencil and paper. Stress the
importance of unity throughout each of the four compositions.
Step Two
Photocopy final thumbnail sketches and experiment with different colour schemes using watercolour
pencil crayons.
Step Three
Sketch the four designs on an individual sheet of watercolour paper, leaving a ½ inch border on all sides.
Step Four Fill in large areas of colour using watercolour paints and brushes.
Step Five
Fill in small areas of detail with watercolour pencil crayons.
Step Six
Create a title for each illustration in the series. Write these titles in pencil along the bottom margin
of the border.
Variations
Work collaboratively — Instead of having students create their own individual series, ask them to work in teams of four. Each
group will agree upon a process to illustrate and each team member will be assigned one of the steps to illustrate.
Follow-up Discussion
1. Ask the students why they chose their colour scheme. Would the mood of the illustrations have been different had they
chosen other colours?
2. Did they find it challenging to work with a limited palette?
3. Would they consider creating a series of work in the future? If so, what would it look like?
35
Curriculum Links
GENERAL ART COURSES: 10, 20, 30
Drawings students will:
1. Acquire a repertoire of approaches to recording visual information
2. Express technical competencies and individual insights
Compositions students will:
1. Develop competence with the components of images: media, techniques and design elements
2. Analyze the relationships among the components of images
3. Express meaning through control of visual relationships
Drawing
Record — Students will acquire a repertoire of approaches to record visual information.
Students will:
Art 10 — Combine description, expression and cognition in the drawing process
Art 20 — Draw for confidence and consolidation of head-to-hand skills
Art 30 — Achieve personal style
Communicate — Students will express personal visual competencies and insights.
Students will:
Art 10 — Investigate varieties of expression in mark making
Art 20 — Explore a personal selection of expression
Art 30 — Exhibit a personal style through in-depth studies
Composition
Components — Students will become familiar with the components of images: media techniques and
design elements.
Students will:
Art 10 — Solve teacher-directed problems of unity and emphasis in creating compositions
Art 30 — Use personal experiences as sources for image making
36
Create: Toppings, Sarah Gonzales, 2014 (detail)
37
Bibliography
Brickman, Sophie, “The History of the Ramen Noodle,” New Yorker, May 12, 2014.
http://www.newyorker.com/culture/culture-desk/the-history-of-the-ramen-noodle
Solt, George. The Untold History of Ramen: How Political Crisis in Japan Spawned a Global
Food Craze. Berkeley and Los Angeles: University of California Press, 2014.
38
Acknowledgements
This publication was produced in conjunction with the TREX
exhibition Ramen Love by the AFA Travelling Exhibition Program
(TREX) Southeast Region 4, at the Esplanade Arts and Heritage
Centre. Ramen Love will tour throughout Alberta to non-traditional
gallery spaces September 2015-February 2018. Visit
www.trexprogramsoutheast.ca to find out more about the
program and locations of each exhibition.
Curator and Editor: Xanthe Isbister,
Esplanade Arts and Heritage Centre
Education Lesson Plans: Shannon Bingeman,
Esplanade Arts and Heritage Centre
Copy Editor: Rachel Small, Faultless Finish Editing
Design: Type Designs
Images: Sarah Gonzales
Printing: Holmes Printing
A special thanks to:
Sarah Gonzales, Artist
Joanne Marion, Director/Curator,
Esplanade Arts and Heritage Centre
Esplanade Arts and Heritage Centre
401 First St. SE
Medicine Hat, AB Canada T1A 8W2
403-502-8580 | www.esplanade.ca
39
Just Add Water, Sarah Gonzales, 2014 (detail)
40
41
© 2015 by the Esplanade Arts and Heritage
Centre, Medicine Hat, Alberta. The Esplanade
Arts and Heritage Centre retains sole copyright
to its contributions to this book.
42
43